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Portfolio
Paul Lawrence
| lawrence.p@husky.neu.edu
| http://lawrencep.myportfolio.com

Hi my name is Paul Lawrence, I am a
sophomore majoring in Design with a minor in
Computer Science at Northeastern University.
My main interests are design, photography,
and fashion.

Relevant Classes








Design, Process, Context, and Systems
Typography 1
Graphic Design 1
Graphic Design 1
Programming Basics
Photography 1
Alternative Processes

i am cold too
These posters are for my campaign "i am cold too". This campaign was
for my graphic design class and the purpose was to raise awareness for
the Homeless Hotline.

i am cold too
These installations are also for my campaign
"i am cold too". The purpose of installing these
ice sculptures was to expose the severity of the
cold and create an experience to actually draw the
viewer to look at something or someone they might
normally ignore.

Graphic Translation
A project for my graphic design class where we had to create a graphic
representation of an object.

Crucible Poster
Final poster I made for the play "The Crucible" in
my graphic design 1 class

Album Reviews

Reviews
Moldy

Stale

Edible

Fresh

Tasty

Flying Lotus
Until the Quiet Comes
Release date October 2, 2012
Label Warp Records
Genre Electronic, Experimental
Tasty tracks Sultan’s Request, DMT Song (Feat. Thundercat), me Yesterday//Corded

It’s near impossible to have a discussion
about electronic artist Flying Lotus
without bringing up his astounding pedigree.
Born Steven Ellison, Flying Lotus is the
grandnephew of Alice Coltrane, wife of
the legendary John Coltrane, but also a
superb jazz musician in her own right. Her
recordings incorporated dreamy harps and
brought the most mystical aspects of jazz
music to the forefront.
Lotus has made a name for himself
in recent years as a massively talented
and versatile electronic producer. He
has collaborated with a laundry list of
notables—Radiohead’s Thom Yorke, Odd
Future members, and bass-playing peer
Thundercat come to mind—and his previous
record Cosmogramma was one of 2010’s

finest. Cosmogramma showed Flying Lotus
in complete control of his wildly extensive
palette: thumping bass, Sega samples, hiphop beats, and sweeping strings. It’s easy to
understand why Flying Lotus might have
difficulty following up Cosmogramma—it’s so
densely packed with sonic exploration that
an attempt to respond in kind would come
across as a rehash.
So Lotus instead follows a different
muse. With his fantastic fourth album, Until
the Quiet Comes, Flying Lotus embraces his
heritage and translates the ethereal jazz
of his great aunt into an electronic context.
These are sounds he’s dabbled with before (as
in“Arkestry” from Cosmogramma) but here

Winter 2012

1

Mock Layout
Mock layout I did for my type tools class.

the aesthetic persists throughout the album.
It’s akin to sizing down from an everything
pizza to just pepperoni, but Flying Lotus pulls
off the shift with gusto.
It doesn’t hurt that he has an all-star
list of guests on the album. Thom Yorke,
previously featured on Cosmogramma, comes
back for round two with a phantom-like vocal
take on “Electric Candyman.” Soul empress
Erykah Badu also tries her hand, laying down
a smooth howl on superb first single “See
Thru to U.” Thundercat drops righteous bass
grooves where they’re needed, and on “DMT
Song,” his gorgeous tenor voice makes an
appearance. (For future Thundercat fans, his
2011 The Golden Age of Apocalypse is highly
recommended.)
Flying Lotus is a master arranger, and
his love of intricacy is what makes these
disparate elements work. The shrill clicks
and pulses that make up “Tiny Tortures,”
for example, hiss in tandem with the song’s
eerie synth melody. On the title track, quick
handclaps and an ascending bass are paired
to great effect. Elsewhere, you find your
bangers—namely “Sultan’s Request” and
“The Nightcaller”—but these don’t upset the
album’s motif so much as quicken its ebb and
flow. While Flying Lotus initially attracted
listeners with genre-hopping bombast, his
ability to weave sounds together like a
patchwork quilt now proves his greatest asset.
When critics listened to pre-release copies
of Cosmogramma, it was a single mp3
file—no track breakdowns. More so than its
predecessor though, Until the Quiet Comes
feels like something meant to be digested in
one piece. It’s a beautiful, quiet record, and
one that deserves multiple listens.
Auntie Alice would be proud.
Mike Doub (Psychology)

If you would like to submit
a review to be considered
for publishing in print or
online, e-mail:
tmreviews@gmail.com

Soundgarden

King Animal
Release date November 13, 2012
Label Seven Four/Republic
Genre Alternative/ Grunge
Tasty tracks Black Saturday, Rowing, Halfway
There, Been Away Too Long

“You can’t go home, no I swear you never
can,” Chris Cornell screams over the opening
guitar riff of King Animal, Soundgarden’s
first studio album to contain entirely new
material since before the grunge gods split
in 1997. Fans would certainly argue that the
band has “Been Away Too Long,” but does
their latest album prove that it’s too late foe
them to come back home and relive their
‘90s glory after a fourteen-year gap?
Right from the opening track the energy
is there—that classic, unabated anger we
expect from Cornell and company that cannot
be placated by time. But how valid is that
anger, and what place does grunge have in

Elbow
Dead in the Boot
Release date November 20, 2012
Label Interscope Records
Genre Alternative Pop/Rock
Tasty tracks Lay Down Your Cross, The Long
War Shuffle, Buffalo Ghosts

With the rise of digital downloads, B-side
tracks are quickly becoming a thing of the
past as physical records are rarely used. When
bands do come out with B-side tracks, the
songs are almost always significantly worse
than those snooty A-side, made-for-the-radio
singles. Gone are the days when B-sides rocked,
like The Smiths’ “How Soon Is Now?” which
was later re-released as an A-side, or Gloria
Gaynor’s “I Will Survive” (BOOM! Bet you
didn’t see a Gloria Gaynor reference coming.)
As for entire albums of B-side compilations?
Well, those are just about extinct. That makes
Elbow’s latest release Dead in the Boot the last
of a dying breed, the musical equivalent to
football’s three down running back.
Guy Garvey, Elbow’s vocalist and resident
raconteur, once said “An album should take
people on a journey.” Boy, does Dead in the
Boot nail that criterion. It isn’t a “greatest
hits” compilation, A.K.A. a money grab, but an
album of B-sides and other non-album tracks
that were written at various times over the
past twelve years. It shows the band at its most
creative, free from the pressure to be catchy
or anthemic. The oldest track is “None One”,
which was originally released on The Newborn
EP from 2000. The Peter Gabriel-esque
“Buffalo Ghosts” was first released in 2011 as

mainstream rock today? A few tracks, such
as “Crooked Steps” and “Non-State Actor,”
are riddled with lackluster and cliché lyrics
that leave listeners longing for the days of
Superunknown. Here, we are forced to down
lyrics like “Blood raining down/ Cuts a deep,
deep river” or “You are the cure/ I am the drug”
that sound tired and really don’t leave a lasting
impression on the listener.
Don’t get discouraged too soon—not every
track of King Animal disappoints. “Eyelid’s
Mouth” consists of those heavy, charging
guitar riffs we remember with affection and
Cornell’s lungs don’t sound affected by nearly
thirty years of screaming. We even get to
Moldy
Stale
Edible
Fresh
Tasty
see another side of Soundgarden—one that’s
evolved past raw anger to become more refined.
weren’t enough for the band members of
“Halfway There” is a look back on love and life
find themselves, and now they’re back to
that yearns for a better future and dares to get
“rowing” on through life and mainstream rock
political without becoming too preachy, while
“Black Saturday” reveals a sense of vulnerability. together. King Animal might not be bringing
Soundgarden back home, but it’s taking them
On the last track, “Rowing,” Cornell claims
somewhere new.
that he doesn’t “know where I’m going, I
Amanda Hoover (Journalism)
just keep on polling, gotta row.” Apparently,
fourteen years and numerous side projects

a vinyl single. With thirteen tracks spanning
more than a decade, Dead in the Boot takes
you on more than a journey—it chronicles the
odyssey of a band that won the Brit Award for
Best British Group in 2009 and produced the
BBC’s theme for the 2012 London Olympics.
Elbow is typically known for its grandiose
style of alternative rock, but Dead in the Boot
reveals a different side of the band stylistically.
Garvey’s emotional vocals remain, but most
of the songs are toned down. “Whisper Grass”
is a haunting opening track. The song begins
slowly. Garvey’s vocals are soft, initially coupled
with restrained instrumentals. However, as
the song reaches its chorus and Garvey sings
of despair, it devolves from its meticulousness
into an electronic heap of noisiness. The
juxtaposition of these two is so difficult to pull
off, but Elbow does so with such grace. Dead in
the Boot gets off to a great start with a track that
is at once both repressed and cathartic.
From the outset, Elbow’s signature is
evident on this compilation. The usual chilling
vibes and emotive vocals are present, but there
is also something setting Dead in the Boot apart
from past Elbow works. The band’s previous
albums always seemed to have some underlying
melancholic qualities, but the calling card
of Elbow was the ability to make sing-along
anthems like “One Day Like This”. Dead in
the Boot is noticeably darker. See “Lucky with
Disease”; a track from 2001, in which Garvey
laments, “I’m a better friend than I’ve ever been
a lover / And that’s not saying much.” The third
track, “Lay Down Your Cross,” is a touching
dirge of lost love. Garvey begs and pleads to “let
me love her again.” The emotion and anguish in
his voice are palpable.

Moldy

Stale

Edible

Fresh

Tasty

Guy Garvey has always worn his heart on
his sleeve, but never have his ever-weary vocals
been so tender. Songs like “Every Bit the Little
Girl” and “None One” are so reserved, so bare,
that it’s hard to believe this is the same band
that made the powerful theme to the London
Olympics this past summer. That’s not to say
the album dawdles along sleepily. It is certainly
not upbeat, but “McGreggor” and “The Long
War Shuffle” are two tracks that pick up the
intensity a couple notches.
Each song has its own touch of delicate
beauty along with a heavy dose of Garvey’s
honesty. Elbow has never been the type of
band that seeks out commercial success, and
the band has received plenty of critical acclaim
as a result. But these B-sides are Elbow at its
true, inspired heart. The results are stunning.
Just put this album on, relax, and enjoy the
bittersweet beauty contained within.
Tom Doherty (Journalism)
2

Photography
Digital

Film

Kallitype Printing

Light Clock
This is a clock I made by using an Arduino
and NeoPixels. The clock tells time by lighting
different columns correlating to the different
hands of a clock. The clock featured 12
columns, a photocell, and an on/off switch.

How it Works
The way the clock works is that there are 12 tubes of light and the hour,minute, and second
hands are represented by different colors of light. The light that represent the clock hands
move from right to left. The green hour hand cycles every one hour while the red minute hand
and blue second hand move every 5 minutes or seconds. The blue second hand is unique
because after every cycle it leaves the previous light still blue. It also changes the colors of the
hour and minute hand into violet and light blue.


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